Unlike many other planets seen on TNG, the globe created for
Ligon II in this episode was
never shown again as another planet.

Rick Sternbach tell us: "The planet image for Ligon II was a simple cylindrical projection map
which I painted. The map was scanned and digitally applied to a CGI sphere, with the clouds being a separate layer probably painted in
the video system. This was the same basic technique used for the planet maps I painted for
'The Last Starfighter'."

Mike Okuda: "The planet was entirely new, but Max Gabl worked hard to re-create the layout of Rick Sternbach's original planet surface texture map painting. Rick's art was scanned into standard-def video, then electronically wrapped onto a sphere. I thought the result was cool, but even then, it revealed the limitations of standard-def video, especially when the sphere was enlarged."

Notably absent in the previous episode, the black cardboard cut-outs reappear in
"Code of Honor", here covering some areas of the bridge aft consoles.

The cardboard is even more noticeable in HD.

Picard, Riker and Troi use the bridge turbolift close to the ready room to get to cargo bay 2. This turbolift was used much less frequently than the one at the back of the bridge. When the perspective switches to the inside of the
turbolift cabin and the door slowly closes, one can see that this shot was not filmed in a turbolift attached to the bridge but rather to a corridor.

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A pink moving ceiling light can be seen in the turbolift, an effect that wouldn't be in use again for the rest of the series.

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The small black cargo container on the bottom right featuring Vulcan writing was originally created as a Vulcan container for "Star Trek IV: The Voyage Home". Several containers of this type were
visible on Vulcan and in the cargo hold of the Klingon Bird-of-Prey.

"Star Trek IV"

The writing is not better visible in HD.

The cargo bay set, characterized by the semi-transparent doors, appears for the first time in this episode. It would later double as the shuttlebay set. The transparent doors originally appeared in "Star Trek II: The Wrath of Khan" in main engineering.

"Star Trek II"

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The Ligonian transporter effect.

The Ligonian transporter effect has been faithfully recreated and looks stunning in HD.

The traditional way of saying "hello and welcome" on Ligon II. Later episodes featured other alien hand gestures used to welcome a visitor.

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The octagonal cargo crates first appeared on Vulcan in "Star Trek IV: The Voyage Home". Very similar containers were seen in various episodes of "V - The
Miniseries", "V - The Final Battle" and "V - The Series".

"Star Trek IV"

"V - The Final Battle"

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The transporter console in the cargo bay was previously seen as a medical console in sickbay in "Star Trek: The Motion Picture" and "Star Trek II: The Wrath of Khan".

"Star Trek II"

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Cargo containers like that previously appeared in several Battlestar Galactica episodes,
such as "Take the Celestria", and Buck Rogers in the 25th Century episodes, like "The
Plot to Kill a City". They would often be seen in the cargo bay in future TNG episodes.

"Battlestar Galactica"

"Buck Rogers"

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The box housing the vaccine features the first of many appearances of the hexagonal Ligonian logo.

Ligonian emblem

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The scar on Lutan's chest changes position several times in the episode. In this shot (and also in later scenes in the observation lounge) it is fully visible and very close to his sternum. In later scenes, it has moved further to the
left and is almost always hidden behind his cloak.

Later in SD

Later in HD

A better look at the scar in HD.

Like in several season 1 episodes ("11001001" being
another example), Yar uses a PADD to program the holodeck instead of just using voice command like in later seasons. One of those PADDs was later seen up close as a medical PADD in "We'll
Always Have Paris". Slightly modified, they also appeared as Orion PADDs in the Enterprise episode "Borderland" more than 15 years later.

Tasha Yar then crosses the holodeck to get her aikido suit
that materializes on the wall. This is the first of a couple of shots in TNG
that was done with the pan & scan method, in order to combine an apparent
camera motion with a visual effect. Pan & Scan Effects in TNG

"We'll AlwaysHave Paris"

ENT: "Borderland"

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This is the first appearance of the famed holodeck grid, yellow lines on black ground. Only in this episode, the floor is covered with
gray carpet. In later episodes, it would be made up of the same yellow grid on a black floor.

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The shot in which the Enterprise fires photon torpedoes was originally created for the sequence in
"Encounter at Farpoint" where the Enterprise "heals" the Farpoint creature with an energy beam.

"Encounterat Farpoint"

Like in the original TV version, in TNG-R the sequence of the Enterprise firing photon torpedoes is based on the same basic shot of the ship as in "Encounter at Farpoint". As the original footage was incomplete, the shot was reconstructed by Max
Gabl.

The close-up of the planet looks quite blurry as we see how
the photon torpedoes enter the atmosphere.

The planet appears much more detailed in this shot. Gone is the blurriness,
we can make out small islands.

A nice shot of Ligon II. We always see the same portion of the
planet a couple of times in the episode.

We always see exactly the same portion of the reconstructed planet in the remastered version too.

Wesley can be seen leaving the bridge with his mother at the beginning of act three. At the end of act two, he was still sitting at the ops station, next to Data. A short scene was cut here that would have featured an explanation for the Crushers' departure:

32 ANGLE ON WESLEY
at Ops position but distracted by what is going on.

DATA (O.S.)
It concerns you directly, Captain.

BEVERLY (O.S.)
Wesley. It's time we left.

33 WIDER ANGLE - TO INCLUDE BEVERLY
moving to the turbolift which she is indicating to Wesley. He stands, disappointed that it's over. Picard
sees this.

PICARD
Wesley... thanks for taking a turn at the controls.

WESLEY
Yes sir.

That has changed everything. A bouyant Wesley leaves the bridge with his mother.

STAR TREK: "Code of Honor" - 7/2/87 24.
33 CONTINUED:

TROI
Commander....

RIKER
"Commander?" That's quite formal...

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The beautiful matte of the Ligonian Centerplace and city.

The matte painting of the Ligonian palace and the houses in the background appears much more detailed in HD. A wider shot of the painting was also used, revealing more details at the sides of the painting. The three throne chairs and the waterfall in the Centerplace can clearly be made out now.

The Centerplace features a dragon statue on top of the small waterfall, implying that dragons (in reality or folklore) also exist on Ligon
II.

The HD version shows the dragons much better.

Tasha's guard certainly shows "some sign of wear". The last time he was seen, he still had two perfectly healthy eyes.

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The Ligonian Centerplace and city at night.

Again, a wider shot of the matte painting is used. Many more details can be made out.

This shot is quite pale and blurry in the original episode.

The colors of the HD version are much better. But it is still
not really crisp, and it has some artifacts (perhaps from digital sharpening?).

The ivory-like sticks the Ligonians use to show approval or to applaud are later seen again in "Frame of Mind", where an illusory Tilonian inmate plays with them. The Wadi in
DS9: "Move
Along Home" also use sticks (called clon peags) to applaud.

"Frame of Mind"

A better look at the sticks is possible in HD.

Several Rougier tube lamps appear in this episode. They would appear again in later episodes of TNG and DS9 and can still be rented from Modern Props. Re-Used Props - Furniture

DS9: "The Search, Part II"

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The shape of the Ligonian logo is nicely mirrored in the shape of the door here.
Note that the orientation and the colors is not the same as on
the box that was given to Tasha.

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The Ligonian gongs were later seen in "The Perfect Mate" in the Kriosian Temple of
Akadar.

"The PerfectMate"

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The stone seats previously appeared in the Farpoint Station mall in "Encounter at Farpoint".

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The Ligonian tableware later appeared on Aldea in "When the Bough
Breaks".

"When the Bough Breaks"

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The purple crystal ball would later be seen, again in Geordi's quarters, in "Galaxy's
Child". In that episode, in preparation for a visit by Leah Brahms, he presses the crystal ball and it starts to glow softly.

"Galaxy's Child"

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The blue razor prop (or a very similar one) would reappear much later, in DS9's "The
Sword of Kahless", again as a razor, this time used by Benjamin Sisko.

DS9: "The Swordof Kahless"

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Geordi's quarters are a redress of Kirk's/Spock's quarters as seen in "Star Trek I-III". Behind
Geordi, the sonic shower, in which the Ilia probe materialized, can be seen. The set
already appeared in the preceding
episode "The Naked Now", there as quarters aboard the Tsiolkovsky.

"Star Trek I"

"Star Trek I"

One of the Ligonian weapons was previously seen in "Star Trek III: The Search for Spock" as a ceremonial Vulcan spear.

"Star Trek III"

In HD we can see that it is definitely the same weapon,
apparently including the red jewel.

Several traditional weapons, including katana swords and crossbows, can be seen on the Ligonian weapon wall.

A better look at the weapons in HD. Small details, such as a
sheath covered in fur, are recognizable.

This diagram shows the location of the Ligonian Centerplace on Ligon II and also shows where the four Enterprise crewmembers are located within the palace. It nicely matches the exterior matte. The large open place where the fight later takes place is located at the bottom of the diagram.

Some details, such as the names of the three officers, are
better recognizable. Also note that the walls on the display are not solid lines
but have a grainy structure (so this was not a shortcoming of the low resolution).

The number 4077 is another M*A*S*H reference.

A similar vase, albeit of a different color, is vaporized in "Angel One" to showcase the power of the execution
device and can be seen in the same white color in "Justice". Re-Used Props - Various Objects

"Angel One"

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More appearances of the Ligonian logo, here as a large wall
mural and on a banner.

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In the background, the round version of the famous Rougier tube lamp can be seen.